BEGIN:VCALENDAR METHOD:PUBLISH PRODID:-//hammer.ucla.edu//NONSGML iCalcreator 2.4.3// VERSION:2.0 BEGIN:VEVENT UID:20091123T080125CET-8362DULmvD@hammer.ucla.edu DTSTAMP:20091123T070125Z DESCRIPTION:Although cinematic experimentation in the shadow of the industr y goes back as far as Hollywood itself\, the 1960s and ‘70s in Los Angel es were a particularly vibrant and exciting time and place for experimenta l filmmaking. In no other city did there exist such a harmonious and cacop honous intersection of the commercial\, the industrial\, the underground a nd the art scene. Perhaps the most bluntly rendered illustration of this m elding of worlds can be found in the Sears commercial made by Pat O'Neill\ , Chick Strand and Neon Park.\n\n\n \;\n\n\nDespite the astounding var iety and volume of strong\, unique and diverse work coming out of the Sout hland during this time\, much of it has been unseen here for many years. T his screening will showcase a broad range of work made between 1963 and 19 80\, all in restored prints from the Academy Film Archive. Featured works include two of Gary Beydler's mesmerizing and moving recompositions of loc al landscapes\, David Wilson's oft-referenced but rarely seen Stasis (1976 )\, and Bruce Lane's unc. (1966)\, a recently revived masterwork of distil led intensity. Rounding out the program will be a range of rarely seen fil ms by Fred Worden\, Chris Langdon\, Roberta Friedman and Grahame Weinbren\ , Diana Wilson and Pat O'Neill.\n\n\n \;\n\n\nBy the Sea\n\nDirected b y Pat O'Neill and Robert Abel\n\nOrganic and inorganic forms observed and captured at Muscle Beach are flattened onto slides beneath carefully appli ed cover slips and prepared for closer examination. \; (1963\, 16mm\, B/W\, sound\, 10 min.)\n\n\n \;\n\n\nThrobs\n\nDirected by Fred Worden \n\nDemonstrating a remarkable subtlety and restraint\, Fred Worden explor es the small epiphanies and nuanced areas of visual delight resulting from the energies created by a vibrant chemical reaction of intermingling foot age. \; \; (1972\, 16mm\, color\, sound\, 7 min.)\n\n\n \;\n\n \nPasadena Freeway Stills\n\nDirected by Gary Beydler\n\nPossibly the most lucid\, vivid and awesome demonstration of the building up of still image s to create moving ones\, Pasadena Freeway Stills simply\, gracefully and powerfully shows us the process by which we are fooled by the movies.  \; \; (1974\, 16mm\, color\, silent\, 6 min.)\n\n\n \;\n\n\nunc.\n \nDirected by Bruce Lane\n\nA haunting\, affecting\, three-minute epic con structed of memorable images and densely imagined narrative fragments dist illed to an essence that registers dread\, dissolution\, fear and despair\ , but also a bittersweet melancholy\, both for an idealized past and a dis eased present. \; (1966\, 16mm\, color\, sound\, 3 min.)\n\n\n \; \n\n\nMurray and Max Talk About Money\n\nDirected by Roberta Friedman and Grahame Weinbren\n\n'We are always interested in constructing ways of evok ing the pleasures of cinema without implicitly accepting an ideology--of p assivity\, manipulation\, and repressed violence--that we would explicitly reject. Can there be films that remain cinematic without indulging in one form of pornography or another? Murray and Max... is\, in part\, a propos al\, a blueprint\, for such a form of cinema.' --Roberta Friedman and Grah ame Weinbren \; \; (1979\, 16mm\, color\, sound\, 15 min.)\n\n\n&# 160\;\n\n\nVenusville\n\nDirected by Fred Worden and Chris Langdon\n\nNo m ontage\, no human subjects\, minimal visual content\, and the artists basi cally pissing on the fourth wall by calling attention in every way possibl e to the artifice of what they're doing. An anti-film school film made at film school. \; (1973\, 16mm\, color\, sound\, 10 min.)\n\n\n \;\n \n\nRose for Red\n\nDirected by Diana Wilson\n\nAn unusual\, jewel-like ho mage to unity and discordance in filmic composition. \; (1980\, 16mm\, color\, sound\, 3 min.)\n\n\n \;\n\n\nStasis\n\nDirected by David Wil son\n\nThe intentional misnomer of the title plays upon the misapprehensio n that the negation of one dynamic process with its inverse complement wou ld result in something static. A landscape film wherein the invisible land scape between the capturer and the captured is brought mysteriously into v iew. \; (1976\, 16mm\, color\, sound\, 7 min.)\n\n\n \;\n\n\nVenic e Pier\n\nDirected by Gary Beydler\n\nShot spatially out of order on the V enice pier over the course of an entire year\, Gary Beydler recomposed the footage in editing to make it proceed consistently forward in space\, res ulting in an intricate mixing up of chronology. Some cuts could represent a jump of months either forward or backward in time. The result is one of gauzy impressionism brought into vivid and breathtaking clarity. \; 60\; (1976\, 16mm\, color\, sound\, 16 min.)\n\n\n\nPicasso\n\nDirected by Chris Langdon\n\n'When Picasso died I wanted to make the first post-morte m documentary\, as I knew would happen anyway\, and cheaply. The film took four hours to finish from camera to print and cost a little under $5.' -- Chris Langdon \; \; (1973\, 16mm\, B/W\, sound\, 3 min.)\n\n\n 0\;\n\n\nSears Sox\n\nDirected by Pat O'Neill\, Neon Park\, and Chick Stra nd\n\nA bonus presentation of a short piece of commercial work done by thr ee legendary L.A. artists. \; (1968\, 16mm\, color\, sound\, 5 min.)\n \n \;\n\n\nIN PERSON: filmmakers Pat O'Neill\, David Wilson\, Grahame Weinbren\, Fred Worden\, Roberta Friedman and Academy Film Archive preserv ationist Mark Toscano.\n\n\n\n\nTotal running time: approx. 85 min\n\n\n\n \n \;\n\n\nAll Films shown in restored prints from the Academy Film Ar chive\, and courtesy of the filmmakers.  \;Funded by the UCLA Arts Ini tiative. Co-presented with the UCLA Film and Television Archive and Los An geles Filmforum.  \;\n\n\n \;\n\n\n\n\n\nALL HAMMER PUBLIC PROGRAM S ARE FREE. Tickets are required\, and are available at the Billy Wilder T heater Box Office one hour prior to start time. Limit one ticket per perso n on a first come\, first served basis. Hammer members receive priority se ating\, subject to availability. Reservations not accepted\, RSVPs not req uired.\n\n\n\n\nParking is available under the museum for $3 after 6:00p.m .\n\n\n \;\n\n\nPublic programs are made possible\, in part\, by a maj or gift from Ann and Jerry Moss. \; \n\n\n \;\n\n\n Additional su pport is provided by Bronya and Andrew Galef\, Good Works Foundation and L aura Donnelley\, an anonymous donor\, and the Hammer Programs Committee.&# 160\; \n\n\n \;\n\n DTEND:20090529T223000 DTSTART:20090529T193000 SUMMARY:Restoring the Los Angeles Avant-Garde: Things are Always Going Wron g END:VEVENT END:VCALENDAR